Some critics might dismiss Sophie Milman as simply another pretty female singer, yet with her third CD, she continues to show an adventurous spirit, tackling standards and obscurities while also forging ahead into pop. Retaining many of the musicians from her previous release, Make Someone Happy, the upbeat alto offers a hip take of Duke Ellington's long overlooked "Take Love Easy," exuding sex appeal and backed by guitarist Rob Piltch, bassist Kieran Overs, and percussionist Mark McLean (who also arranged it), with a brief solo added on soprano sax by PJ Perry. Pianist Paul Shrofel contributed the breezy bop vehicle "That Is Love," which showcases Milman in her best light. She soars in the brisk treatment of the old chestnut "Day In, Day Out," starting in a samba setting and switching to bop, featuring alto saxophonist Wessel Warmdaddy Anderson.
Rufus Wainwright has popular-song chops and an ambitious streak (see his opera), so it makes sense that he’d want to set Shakespeare’s sonnets to music. On Take All My Loves, he even provides multiple interpretations of individual pieces. "Sonnet 43" is first arranged for spoken vocals and flinty electronics before it’s presented with orchestral sweep and operatic singing. “Unperfect Actor (Sonnet 23)” tilts into adult-contemporary rock, while other tracks have a progressive folk feel. Throughout, Wainright’s sonic diversity complements the range of literary devices that reside in the Bard's source material.
Take Twelve was trumpeter Lee Morgan's only recording during an off-period that lasted from mid-1961 to late 1963. Morgan (who sounds in fine form) leads a quintet with tenor saxophonist Clifford Jordan, pianist Barry Harris, bassist Bob Cranshaw and drummer Louis Hayes through four of his originals, Jordan's "Little Spain," and the title cut, an Elmo Hope composition. The superior material uplifts the set from being a mere "blowing" date but it generally has the spontaneity of a jam session. It's one of Lee Morgan's lesser-known dates.
Aretha Franklin has simply been one of the greatest singers of the modern generation, and whether bringing her powerful, passionate voice to bear on gospel standards, songs from the Great American Songbook, jazz standards, pop ditties, or deep Southern soul and R&B, she has always had the presence – much like Ray Charles – to make anything she touches unmistakably hers. Franklin began her career in gospel when she was still a teenager, and her amazing vocal talents, coupled with her fine piano playing, marked her as a once-in-a-lifetime kind of artist, qualities very apparent to legendary talent scout John Hammond, who signed her to Columbia Records.